It's Sunday night. Little more than wind whips around the remains of the Festival of the Arts: a few drunks and strung-out vagabonds; porta-potties; ungainly street sweepers. A guy's yelling across the street as I enter the club. After a gaggle of Watusis fans dissipates, Bar Pink's pretty low-key.
The Unnatural Helpers are showing the effects of rolling — with sporadic gigs — down the coast from Seattle in four days. A full-tilt slam into "She Was Your Girlfriend" draws curious pool players and regulars toward the stage. The thin line of bodies thronging the front starts moving. Drummer-lead vox Dean Whitmore somewhat hoarsely shouts over the jerky four-four cacophony. Nearly ever song oozes with hooks seemingly rewoven from a bag of punk and post-punk influences. The flag sinks a few notches when the lead guitarist's cable dies; for a song and a half, the band looks a bit daunted before resuscitating with renewed ferocity. A fan screams after every song. The idea of covering a Television song is toyed with before three more high-octane numbers, ending with one quoting Sonic Youth's "Bull in the Heather" (among others): "Tell Me That You Wanna" could be a lust-sick male's response.
As the band packs up I ask UH founder Dean Whitmore how he hasn't lost his voice, having to project over such a glorious noise. After a response that could be an anthem for bands who've played without monitors, he adds, thoughtfully, "I use it to get things out."
It's Sunday night. Little more than wind whips around the remains of the Festival of the Arts: a few drunks and strung-out vagabonds; porta-potties; ungainly street sweepers. A guy's yelling across the street as I enter the club. After a gaggle of Watusis fans dissipates, Bar Pink's pretty low-key.
The Unnatural Helpers are showing the effects of rolling — with sporadic gigs — down the coast from Seattle in four days. A full-tilt slam into "She Was Your Girlfriend" draws curious pool players and regulars toward the stage. The thin line of bodies thronging the front starts moving. Drummer-lead vox Dean Whitmore somewhat hoarsely shouts over the jerky four-four cacophony. Nearly ever song oozes with hooks seemingly rewoven from a bag of punk and post-punk influences. The flag sinks a few notches when the lead guitarist's cable dies; for a song and a half, the band looks a bit daunted before resuscitating with renewed ferocity. A fan screams after every song. The idea of covering a Television song is toyed with before three more high-octane numbers, ending with one quoting Sonic Youth's "Bull in the Heather" (among others): "Tell Me That You Wanna" could be a lust-sick male's response.
As the band packs up I ask UH founder Dean Whitmore how he hasn't lost his voice, having to project over such a glorious noise. After a response that could be an anthem for bands who've played without monitors, he adds, thoughtfully, "I use it to get things out."